The Getaway Plan, StealingO’Neal @ Billboards,Melbourne (24/09/2010)

Mon 27th Sep, 2010 in Gig Reviews

When Melbourne hardcore-turned-rock band The Getaway Plan announced their break up in mid-2009, ‘emo’ ladies and gents across the country became additionally emotional. Reuniting for a special event to raise awareness for a youth depression organisation, it seemed the band had been practising for this event since their last show.

Following openers Cheerleader (who borrow TGP’s drummer) and Secrets in Scale (featuring a member of Young Heretics), Stealing O’Neal took to the stage in front of a packed Billboards crowd as neon lights swam around the ceiling and the mosh pit stood motionless. The crowd was to remain this way for most of the set, save for their set closer, Bedroom Eyes, which finally ignited the floor. Frontman Chris Scott’s pleas for the crowd to loosen up went unfulfilled as it became increasing hard to argue that the five-piece were not an ordinary version of the night’s headliners. A short set did not aid arguments against this evaluation, and for the uninitiated (like myself) it seemed the set comprised of six renditions of the same song.

The blue velvet curtains fell over the stage as punters searched for one last drink before the reformed pop-rockers made their second appearance for the day (there was an underage show during the day). The curtains lifted as each member walked on stage; frontman Matthew Wright finally completing the lineup as they launched into Streetlight.

It quickly became apparent why Billboards has failed to acquire the best reputation in Melbourne; the sound mix rendering the opening guitar of Streetlight almost unrecognisable as the snare drum occupied most of the mix. The band powered through, velvet jacket-clad Wright storming around the stage as he commanded the absolute attention of the entire sold-out crowd, who were already becoming sweaty and creating an intense moshpit.

While it been over a year since their last performance and two years since their first and only album, this confidence is not unwarranted. 1,100 tickets were sold for the overage show in only nine hours; time does not render fantastic songs anything less.
Obviously elated at the reception, Wright questioned if anyone would know the next song: Sleep Spindles. One of the few tracks from Other Voices, Other Rooms that includes considerable screams, Wright proved early that he is one of the better live ‘screamers’. As the crowd contributed the backing vocals/ bridge to the chorus, “We can’t wake up!”, it was evident that the local quartet had gathered quite a devout following.

New Medicine (Stay With Me) followed as the influence of Wright’s side project, Young Heretics, shone through. The piano intro, formerly performed live by Wright on a keyboard, was computerised with drummer Aaron Barnett given the duty of hitting play.

The Tempest, from 2006’s Hold Conversation EP, was up next. Wright boldly declared that it was not of any concern to him if the crowd enjoyed- or knew- the song, as he believed it was one of the best they have written and they enjoyed playing it. Fan favourite Shadows followed, preceded by Wright asking for the increased vocal input from the heaving crowd. Unlike Scott and Stealing O’Neal, his wish was granted as the band and crowd stepped it up. This resulted in an almost festival-like scene, with security guards launching bottles of water into the crowd and spreading water over the mosh whenever possible.

A Lover’s Complaint, The New Year and Red Flag continued the set, with the latter again utilising the laptop for the piano introduction. The song, one of the band’s best, ignited a circle pit as Wright’s incredible screams echoed around the room.

As guitarist Clint Splattering played a small background solo which fed into the final song, Wright left the crowd with a final thought: “the clock’s ticking and anything’s possible.” They then launched into their most popular track, Where The City Meets The Sea, effectively inviting the crowd to a huge sing-a-long.

Loud feedback poured through the room the band left the stage. The feedback was unrelenting and the stage lights stayed on, increasing anticipation for an encore as the chants assembled volume. Entr’acte, the bizarrely freakish prayer sounding album track, rang out through the speakers as the band resumed position for Rhapsody On A Windy Night. Wright launched himself into the crowd as the song neared end, giving the security guards yet another worry after a solid hour of crowd surfers and a rowdy mosh.

The band left the stage after an extraordinary hour of rock. Despite their last live outing being in July of the year previous, they showed no signs of weakness in a mostly unchanged set. Splattering’s hair still flies everywhere as his head bangs, Barnett’s still looks chirpy as he spins his drumsticks and bounces off his seat and bassist Dave Anderson is still the cool, calm and collected guy in the corner. As for Wright, he has not remained a great performer like his bandmates, but grown into a fantastic one. Returning with a new dynamism that was seemingly refreshed by the year long break, Wright trounced around the stage looking as devilish as ever. Watching this, it was hard to imagine him ignoring his adoring fans of The Getaway Plan for another year.

CHECK OUT PHOTOS FROM THE NIGHT HERE